Besides the many Roman artefacts from Aquincum, the Szekely National Museum preserves 3 pieces ofEgyptian statuettes of Ushabti type, dating from the 27th Dynasty. donated to the Museum in 1916.1. A mummy shaped statuette made of earthenware, covered in dark green glaze, preserved in good condition,with an inscription referring to the god Osiris on its surface (inv. no.6433);2. A mummy shaped statuette made of earthenware, covered in dark green glaze, preserved in good condition(Inv. no.6434)3. A mummy shaped statuette carved from limestone, once covered in dark green glaze, with a brokenleg. (Inv. no.6435)

This paper deals with three new funerary monuments, one known to the academic society and two other new, brought in the scientific circuit by the authors, in this paper. Following a short introduction into the spreading of the cult of Ammon in Egypt and Greece, the situation of Ammon goes slightly different in the Roman era, Ammon being seen by the Romans just as a decorative symbol on funerary monuments and all sorts of common objects such as furniture and bronz small pieces. The symbol of Ammon is used during this era so that it my give protection to the kind of things enlisted above. The first monument is a rectangular funerary coping from Napoca (fig. 2 a-b) with the representation of the god Amon together with two lions from an funerary construction belonging to a funerary enclosure. The analogies from Drobeta (Dacia Inferior), from Aquileia (Northen Italy), from Noricum and Pannonia show that these copings belong to the votive altars. They are together with the altars parts of the same monuments. Any kind of dating is hard to establish, because of the precarious state of the monument and due to the lack of information regarding the conditions of the discovery of the monument.The second monument comes from Chinteni (fig. 3 a-d). On the main side of the coping it can be observed the head of Jupiter Ammon, between two lions and a circular pedestal where very likely it was set a pine cone. The entire monument is worked from one piece of stone and it’s place was on top of a large stone block with inscription on it. The best analogy for the monument of Chinteni is the funerary coping from Napoca. Although the monuments are very deteriorated the have some common stylistic features. These kind of monuments with a central figure flanked by two lions on each side are common to the craftsmen of the workshop of Savaria (Pannonia Superior). They are dated in the second part of the II century A.D. At Bădăcin (Sălaj County - fig. 4 a-c) we have identified a fragment of a Roman funerary monument with the reprezentation of Jupiter- Ammon flanked by two lions on each side. The monument is in a bad shape, being assambled together after being smashed. The best analogy for this monument is one of Apulum which was dated in the time of the Severian dynasty because some stylistic features.All three monuments are copings of altars or funerary stelae (no. 3) put in a funerary area. The pieces come from large funerary monuments, expensive which we believe only the upper class of the Roman provincial society could afford. Another interesting thing is the fact that the monuments from Chinteni and Napoca looks like they come from the same workshop and from the same period. Unfortunately, the bad state of the monuments prevent us for a more precise stylistic analysis.

This paper tries to put in discussion and to rehabilitate a monument considereduntil now to be a forgery. It was found in 1979 by N. Vlassa in the village called Miheşude Câmpie, on the former domain of countess Kendeffy and it was used by a local villageras a support for its barn. Based on this and a formal analysis by the Egyptologist M. Ciho,from 1988 onwards this monument was considered to be a fake.The most important argument that states the fact that this particular monument isnot a modern forgery comes from the petrographical analysis conducted under thesupervision of professor Corina Ionescu, Head of the Geology and MineralogyDepartment of the Babeş- Bolyai University. This study concluded the fact that on thesurface of the monument small holes are observed which form themselves only when thistype of building material (in this case limestone), was buried in the ground for severalhundreds of years. Most importantly, these inclusions are seen also on the surface of theincised characters on the monument, proving that the egyptianizing decoration on thesurface of the monument was made also in the ancient times.The next step was to find out what was its purpose and functionality. I considervery obvious the fact that this monument comes from the ancient city of Potaissa, in DaciaPorolissensis. That is because the material used, limestone, is from Cheia Baciului, northwestof the ancient city of Napoca and approximately 30 km. away from Potaissa, andsecondly because all other monuments found in Miheşu de Câmpie were coming fromPotaissa (the modern village of Miheşu de Câmpie was probably in the teritorium of thecity).We know the fact that in Potaissa existed a powerful community of Egyptian godsworshipers. They were even organized into a collegium for Isis. It is logical to suppose thatthey had a sanctuary or a temple in which they manifested their epiphany towards thesecults. But what is most important is the fact that judging by the fact that in Rome andBeneventum there are obelisks in the temples of Isis, we can argue that we might have thesame situation in the case of Potaissa, too. The only difference is that this specificmonument has an Egyptianizing decoration and not always real hieroglyphs and unlikethe obelisks from Rome (Iseum Campense) and Beneventum (two smaller obelisks whichstood in front of the entrance in the temple of Isis) this was probably attached on a wallor, it was used as a relicviarium in the religious manifestations.

Th is paper studies a particular bronze statuette found by accident in the Roman settlementof Potaissa, in Dacia Porolissensis, on the hill called by Téglás István Szindivölgy (Sând Valley peak inRomanian), in a Roman “tower made out of tiles”. Considered until now to be a depiction of an “kneltEgyptian”, with the aid of analogies from Egypt itself, I suggest that this artifact is a depiction of anEgyptian Pharaoh. Unfortunately, due to the relative standardization of this kind of depictions in Egyptianart and to other problems regarding the identifi cations of pharaohs on this kind of artifacts, we are not ableto say for sure which one of the Pharaohs of Egypt it depicts. Th is statuette is particularly important becausefi rstly, it is a representation of an Egyptian Pharaoh outside Egypt, and secondly it shows once again thatthe Egyptian infl uences in Potaissa were very strong here too.

This paper focuses on the study of the bull representations in Roman Dacia, more precisely the artifacts made out of bronze and limestone found in the Roman settlements of Porolissum, Bologa, Napoca, Potaissa and Orșova (ancient Dierna). Until now all of them were considered to be iconographical depictions of the Egyptian Apis bull, the sunnaos theos found very often linked with the cults of Isis and Sarapis. The task of this initiative was to clarify once and for all which of them were indeed iconographic representations of the Apis bull and which of them were not. More than that the purpose was to dig even further into the matter and find out in which iconographic category fitted the ones who were initially ruled out as not being depictions of the Apis bull, finally arguing that the bull representations from Porolissum and Napoca are depictions of the Dolichean bull.

The number of the findings from Porolissum which betray an Egyptian influence in the area are very scarce, to be more precise three bronze statuettes, a cameo and a possible ``lucerna``. Because of the fact that they were discovered in an archaeological context (which is very rare with the aegyptiaca artifacts in Dacia Porolissensis) and because of the recent reinterpretations of some depictions which were linked with the Nilotic civilization this paper aims to create a new image of how these Egyptian-origin elements reached Porolissum, this Roman settlement on the fringes of the Empire.

This paper aims to present three Egyptian statuettes of the shaubti (ushabti germ.) type found in the excavations of the Roman settlement of Aquincum (Pannonia Inferior). The first one is dated in the 26th Dynasty (also known as the Saite Dynasty, inv. no.6433) and is covered in dark green glaze in which rows of hieroglyphic scripts are inscribed recording usual sacred texts. The second two are rather not sufficiently well preserved but can be dated roughly in Graeco-Roman period (Inv. no.6434 and respectively Inv. no.6435).